Biosphere

Geir Aule Jenssen (born 30 May 1962) is a Norwegian electronic musician and composer who records as Biosphere.

A resident of Tromsø within the Arctic Circle, Jenssen is well known for ambient and ambient house pieces, often inspired by Arctic or mountain settings, and his use of loops and peculiar samples from science fiction and natural sources.

Jenssen was born on 30 May 1962 in Tromsø, a city within the Arctic Circle in the northernmost portion of Norway.

He was inspired by the music of artists such as New Order, Depeche Mode, Wire, and Brian Eno, which he described as "like discovering a new universe—a universe which I wanted to be a part of".

Throughout the late 1980s, Jenssen used the moniker Bleep, under which he produced various 12" records, now releasing records via the Crammed Discs subsidiary SSR. His early influences were from acid house and New Beat music. Released in 1990, The North Pole by Submarine was the only album recorded as Bleep. Further singles followed in 1990 and 1991 before Jenssen abandoned the Bleep moniker and again changed musical direction.

Following the release of The North Pole by Submarine, Jenssen began releasing his music as Biosphere on obscure Norwegian compilation albums.

His first Biosphere releases were the 12-inch single "The Fairy Tale" and the album Microgravity, both of which were rejected by SSR as unmarketable.

In 1983, he bought his first synthesizer and composed his first piece of music, taking influence from his archaeological studies, later stating "Studying the Ice Age and Stone Age has definitely influenced my music."

In 1984 Jenssen issued his first album, "E-Man", released on cassette only on the Norwegian indie label Likvider and credited to E-man.

In 1985, Jenssen was part of the newly created Norwegian moody synth trio Bel Canto with Nils Johansen and singer Anneli Drecker.

The band signed with Belgian label Crammed Discs and to Nettwerk in North America, and relocated to Brussels.

Jenssen, however, soon returned to Tromsø, collaborating with the other band members by post, and continuing with his solo work.

Bel Canto released two albums while Jenssen was a member, White-Out Conditions and Birds of Passage.

In 1990, he left the band in order to pursue a different music style altogether, and began using a sampler.

Microgravity was released in 1991 on the Norwegian label Origo Sound, and saw wider release via the R&S Records subsidiary Apollo in 1992, to much critical acclaim.

In 1992, Jenssen contributed "I'll Strangle You" to Hector Zazou's Sahara Blue project.

In 1993, Jenssen collaborated with German ambient musician Pete Namlook on The Fires of Ork.

In 1994, the second Biosphere album, Patashnik was released, through which Jenssen continued to explore his ambient-house stylings to an even greater extent, employing the theme of a lost cosmonaut drifting aimlessly through space.

Patashnik contained the first hints of the reduction in beat-driven song structure that would mark later Biosphere releases.

Unlike the first album, Patashnik was quickly picked up by a comparatively large international audience, which brought Biosphere greater recognition.

Jenssen also recorded as Cosmic Explorer, scoring a hit in Belgium with the EP The Hubble.

This album was a more abstract work, comparable to Aphex Twin's 1994 album Selected Ambient Works Volume II.

The material on the album draws from elongated, pitch-shifted loops taken from Debussy's La Mer (The Sea), and Jeux.

In 1995, Levi Strauss & Co. was searching for a new angle to add to their television advertisement campaign (which up to that point had never featured electronic music), and they decided to use the uptempo track "Novelty Waves" from Patashnik.

Shortly thereafter, "Novelty Waves" was released as a single (featuring remixes by various other artists), and managed to chart in several countries, reaching #51 in the United Kingdom.

Although Jenssen never regretted his approval for use of the track, he also never sought this kind of fame and subsequently turned down various requests by his record company and peers to collaborate with well-known techno and drum 'n bass artists or to create a follow-up album in the same style.

During that same year, Biosphere contributed the song "The Seal and the Hydrophone" exclusively to Apollo 2 – The Divine Compilation released by Apollo Records.

His 1997 album Substrata was voted by the users of the Hyperreal.org website in 2001 as the best all-time classic ambient album.

He has also composed several film scores.

Substrata (1997) is a purely atmospheric ambient Biosphere album, released on All Saints Records.

Substrata, which marked Jenssen's embarkation towards an intensely minimal style, is not only often considered to be Jenssen's best work to date, but is also seen as one of the all-time classic ambient albums.

Substrata contains samples from the American TV show Twin Peaks.

The drones employed on this album are comparable to Coil's 1998 album Time Machines in their timbre and slow rate of change.

In 2000, Jenssen released Cirque on his new home Touch, an ambient album driven by muffled beats, samples, and minimal atmospherics.

Though Cirque briefly revisited territory covered by earlier Biosphere releases, the rhythm section throughout the album remains an element of the background, unlike Jenssen's first two Biosphere releases, wherein the drums occupied a dominating proportion of the foreground.

In 2002, he released Shenzhou, the fifth full-length album under the name Biosphere.

The bulk of this work was originally commissioned and broadcast in September 2003 by Radio France Culture for a musical evocation of Jules Verne.

Released in 2004, Autour de la Lune stands as the most minimal and austere Biosphere album to date.

A partial vinyl sampler was released a few months earlier in 2005.

In 2006, Jenssen released Dropsonde, a half beatless, half rhythmic album composed of jazz rhythms evocative of Miles Davis' 1970s jazz fusion works.